Sound of Noise

Warnebring is tone-deaf, a condition that has plagued him since childhood despite coming from an illustrious musical family. His inability to perceive music is not selective hearing or pretense - he genuinely cannot process melodic or rhythmic sounds. This is why the drummers' performances seem to escape him entirely, and it's the central irony of the film that a man born into music cannot hear it at all.

His surname 'Warnebring' hints at his musical heritage, and his violent reaction to any sound early in the film establishes his profound aversion.

During the chaos of Warnebring's scheme to manipulate the city's power supply, Sanna experiences a transformation where she suddenly perceives the ambient melodies surrounding her as vibrant and beautiful. This shift represents the film suggesting that her commitment to creating music opens her ears to sounds she previously ignored. While the mechanism is metaphorical, it marks her evolution from a creator of noise to someone who truly hears.

Earlier scenes show Sanna as intensely focused on producing sound rather than listening, indicating her transformation would be meaningful.

After realizing he cannot hear the drummers' music, Warnebring becomes desperate to stop them. His solution is to manipulate the city's power supply, believing that if he controls the infrastructure that produces ambient noise, he can force the drummers to create sound in a way that might affect him - essentially turning the entire city into one giant instrument he can control. This desperate act reflects his inability to accept his tone-deafness.

His earlier frustration builds as the drummers escape his detection repeatedly, pushing him toward more extreme measures.

At the bank, the drummers use a shredding machine to turn banknotes into bass sounds for their performance. They manipulate the environment creatively - feeding money into the shredder to produce rhythmic noise while 'holding hostage' the employees and clients. This is not a typical robbery; the money is incidental to the sound they produce, making it a purely artistic act disguised as criminal behavior.

The film establishes early that the drummers seek unconventional sound sources, and the surgery scene shows they're willing to use unwilling participants.

After their final performance on the power lines, the drummers are exiled from the city by authorities. However, they regroup and continue performing as a lounge act in a more subdued setting. This represents both a defeat and a continuation - their artistic mission survives in a gentler form, though they've lost their radical public presence.

The escalating intensity of their performances and the city's increasing frustration foreshadow a climactic confrontation ending in their removal.

In the ending, Warnebring attends an orchestral concert where no actual sound is played - a silent concert. This bizarre event brings him peace because for the first time, everyone around him experiences the same silence he has always lived in. The concert validates his experience rather than excluding him, allowing him to find contentment in a world without the music he cannot hear.

His entire arc involves seeking relief from sound, and his musical family's expectations have always created pressure he couldn't meet.

The drummers perform four distinctly named movements across the city: first in a surgery room using a TV reporter undergoing hemorrhoid surgery, then at a bank using a shredding machine for banknote sounds, followed by an opera house performance with bulldozers that topples a fountain, and finally a climax suspended from high-tension power lines treating the cables like violins. Each movement escalates in scale and ambition.

The film explicitly frames these as movements from the start, indicating they're meant to be experienced as a cohesive musical work.

Warnebring comes from an esteemed musical lineage, making his tone-deafness particularly painful and ironic. His family name suggests musical heritage, and his profession as a policeman fighting musicians represents a rebellion against the expectations he could never meet. His disdain for music stems partly from the shame and frustration of being the only one in his family who cannot experience what they consider fundamental to their identity.

Early scenes show his violent physical reactions to music, suggesting a deeper psychological wound than simple dislike.

The drummers are anarchists who believe music can and should be created from anything - everyday objects, environments, even people. Their performances are deliberately disruptive to challenge conventional ideas about where music can come from and who can make it. They're not just making noise; they're making a statement about artistic freedom and the boundaries of music.

The film's title and opening establish their anarchist philosophy and rejection of traditional musical norms.

Warnebring and Sanna are mirror opposites in the film - she creates music effortlessly and ultimately learns to hear it everywhere, while he cannot perceive it at all despite his family legacy. Their connection is adversarial throughout, but the ending suggests a strange parallelism: both find peace in their own way, she in a world of sound and he in silence. They never directly interact in a meaningful way, representing two opposing perspectives on music itself.

Their parallel tracking throughout the film emphasizes their contrasts, and the final images deliberately place them in separate but parallel situations.